Auditorium Building, Adler and Sullivan, Chicago Il, 1887-89
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Auditorium Building, Chicago, IL, c.1890.�430 S. Michigan Ave. �Adler & Sullivan, architects. 1887-1889. ------------- Image1 ------------- Field Data Collection IDOL Teaching Collection�Work Record ID 1600�Work Type theaters�WORK TITLE null�Title Auditorium Building�WORK CREATOR null�Creator Name Sullivan, Louis H.�Creator Dates 1856-1924�Creator Nationality American�Creator Type architects�Creator Role architects�WORK DATES null�Display Date 1886-1889�WORK LOCATION null�Location Chicago (Ill.)�WORK STYLE PERIOD null�Style/Period Term Richardsonian Romanesque�WORK CULTURE null�Culture American�WORK SUBJECT null�Subject contract design�Subject exterior views�Subject theaters�WORK DESCRIPTION null�Description The Auditorium was built for a syndicate of businessmen to house a large civic opera house; to provide an economic base it was decided to wrap the auditorium with a hotel and office block. Hence Adler & Sullivan had to plan a complex multiple-use building. Fronting on Michigan Avenue, overlooking the lake, was the hotel (now Roosevelt University) while the offices were placed to the west on Wabash Avenue. The entrance to the auditorium is on the south side beneath the tall blocky seventeen-story tower. The rest of the building is a uniform ten stories, organized in the same way as Richardson's Marshall Field Wholesale Store. The interior embellishment, however, is wholly Sullivan's, and some of the details, because of their continuous curvilinear foliate motifs, are among the nearest equivalents to European Art Nouveau architecture.�WORK SOURCE null�Source Image from the collection of Evie Joselow.�REPRO RECORD null�Repro Record ID NYSID01873�
Interior, Auditorium Building, Adler & Sullivan
The Theater in the Auditorium Building, Adler & Sullivan
The Theater in the Auditorium Building, Adler & Sullivan. Note the way that the electric lighting has been integrated into the design
Ganz Hall, Auditorium Building, Adler & Sullivan
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Roosevelt University's Auditorium Building is located at 430 South Michigan Avenue. �Ganz Hall is on the seventh floor of the Auditorium Building and �must be accessed through one of the elevators in the main lobby.
A Floor Plan in a Building using Curtain Wall Construction
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Reliance building, ground floor plan
World’s Columbian Exposition, The White City, 1893
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World’s Columbian Exposition, 1893, Chicago
World’s Columbian Exposition, The White City, 1893
Transportation Building, Louis Sullivan World Columbian Exposition, 1893
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Transportation Building, Sullivan & Adler
Transportation Building, World Columbian Exposition, 1893
The Guaranty Building, Adler & Sullivan, Buffalo NY, 1895
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Sullivan and Adler, Guaranty Building, Buffalo, 1895Sullivan and Adler, Guaranty Building, Buffalo, 1895�
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Sullivan and Adler, Guaranty Building, Buffalo, 1895
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Sullivan and Adler, Guaranty Building, Buffalo, 1895
Bayard Building, Adler & Sullivan, New York City, 1807-98
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-Bayard Building, L. Sullivan, 1897-98, New York City ------------ Image1 ------------- Field Data Collection IDOL Teaching Collection�Work Record ID 1592�Work Type office buildings�WORK TITLE null�Title Bayard Building�WORK CREATOR null�Creator Name Sullivan, Louis H.�Creator Dates 1856-1924�Creator Nationality American�Creator Type architects�Creator Role architects�WORK DATES null�Display Date 1897-1898�WORK LOCATION null�Location New York (N.Y.)�WORK STYLE PERIOD null�Style/Period Term Chicago School�WORK CULTURE null�Culture American�WORK SUBJECT null�Subject contract design�Subject office buildings�Subject exterior views�WORK DESCRIPTION null�Description One of Sullivan's most important buildings is on Bleecker Street in New York, the building known as the Bayard-Condict building, which was built from 1897 to 1899 and was an office and loft building. It is almost entirely clad in white terra-cotta; that is, it is a steel-frame building with very ornate clay detail on the façade. Sullivan thought the building should reflect the structure, and you can actually read the very strong verticals where the steel-structural frame is located on the façade. There are the wide vertical members marked where the structure of the building is and the narrow, spindly little verticals do not go all the way down to the base. They stop above the second floor windows, so it is very evident that those are not structural. Only the wider verticals are structural. The building is white and very bright, so that the building would be very visible. It is actually slightly askew of the New York City grid, so there is a vista to this building. You can see how ornate it was, done entirely in terra-cotta but very expensive terra-cotta. The clay was both molded and hand carved to give it a very deep ornamental detail. It is not traditional. You cannot look at this ornament and say, oh it is Romanesque, or Renaissance, or it is gothic, or classical. Sullivan invented a new ornamental aesthetic for his skyscrapers, a kind of organic design that was often based on natural forms, some that you would see with your eyes, some that were visible only with a microscope. The very dense intertwining forms characterized the type of ornament he used on his buildings in Chicago, Buffalo, St. Louis, and elsewhere in the Midwest, and they characterize his one New York building. The second floor would also be ornate. It is a transitional story. Somebody walking by on the street could look into the windows on the second floor and might then go into a shop that was on that floor by just going into the lobby and walking up a flight of stairs. And Sullivan designed this very subtly so that your eye focuses on the second story windows. The plane of the windows is recessed and the soffit of the window frame, the underside of the top of the window frame, is very ornate so that it stops your eye as you are looking up, so you will actually focus on these windows. Then, above that, every single floor is exactly the same, just as Sullivan would have wanted. And it is very vertical in its emphasis so that your eye is going vertically up the building until you reach the cornice, which is very deep, and also has an ornamental soffit, of which the underside is very ornate. And here it is being supported by wonderful winged angels.�WORK SOURCE null�Source Image from the collection of Evie Joselow.�REPRO RECORD null�Repro Record ID NYSID01865� ------------- Image2 ------------- Field Data Collection IDOL Teaching Collection�Work Record ID 1591�Work Type office buildings�WORK TITLE null�Title Bayard Building�WORK CREATOR null�Creator Name Sullivan, Louis H.�Creator Dates 1856-1924�Creator Nationality American�Creator Type architects�Creator Role architects�WORK DATES null�Display Date 1897-1898�WORK LOCATION null�Location New York (N.Y.)�WORK STYLE PERIOD null�Style/Period Term Chicago School�WORK CULTURE null�Culture American�WORK SUBJECT null�Subject contract design�Subject exterior views�Subject details�WORK DESCRIPTION null�Description Detial of the exterior of the Bayard Building, showing the facade beneath the cornice and the upper mullioned windows.�WORK SOURCE null�Source Image from the collection of Evie Joselow.�REPRO RECORD null�Repro Record ID NYSID01864�
Bayard Building, Adler & Sullivan, New York City, 1807-98
Carson Pirie Scott, 1899, L. Sullivan Carson Pirie Scott, Adler and Sullivan, Chicago,1899
Metal Work at the Main Entrance, Carson Pirie Scott, Adler and Sullivan, Chicago, 1899
National Farmers Bank, Louis Sullivan, 1906-08, Owatonna (Minnesota)
National Farmer’s Bank, Louis Sullivan, Minnesota, 1906-08
National Farmer’s Bank, Luis Sullivan, Minnesota, 1906-08
Frank Lloyd Wright, 1867-1959
Wright’s Home and Studio, Frank Lloyd Wright, Illinois, 1889
Interior with Inglenook, Wright’s Home
The New Studio Wing, Wright’s Home
and Studio
Vestibule and Library, F. L. Wright’s Studio
Atelier or Drafting Room F. L. Wright’s Studio
‘Ho-O-den’ Japanese Pavilion, 1893, World’s Columbia Exposition
Dana House, Frank Lloyd Wright, Springfield, Il., 1903
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Dana House, Frank Lloyd Wright, 1903, Springfield, Il. ------------- Field Data Collection IDOL Teaching Collection�Work Record ID 1669�Work Type houses�WORK TITLE null�Title Dana House�Title Dana-Thomas House�Title Type variant title�Title Susan Lawrence Dana House�Title Type variant title�WORK CREATOR null�Creator Name Wright, Frank Lloyd�Creator Name Variant Rait, Frank Lloid�Creator Name Variant Raito, Furanku Roido�Creator Name Variant R¯ayt, Fr¯ank L¯uyd�Creator Dates 1867-1959�Creator Nationality American�Creator Type architects�Creator Role architects�WORK DATES null�Display Date 1903�WORK LOCATION null�Location Springfield (Ill.)�WORK STYLE PERIOD null�Style/Period Term Prairie School�WORK CULTURE null�Culture American�WORK SUBJECT null�Subject exterior views�Subject residential design�Subject suburbs�WORK RELATED OBJECT null�Related Object Dana House�Relation Type exterior views�WORK DESCRIPTION null�Description Exterior side view of the Dana House, or Dana-Thomas House, built for Springfield socialite Susan Lawrence Dana. One of the most well-preserved of Wright's houses, it is now a museum and contains an impressive collection of Wright furniture and art glass.�WORK SOURCE null�Source Image from the collection of Evie Joselow.�REPRO RECORD null�Repro Record ID NYSID01942
Dana House, Frank Lloyd Wright, Springfield, Il., 1903
Plan, Dana House
Reception Area, Dana House, F. L. Wright
Library and Dining Room, Dana House
Art Glass, or Leaded Glass
Oak Armchair, F. L. Wright,
Early 20th Century
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1904 chair
Dining Room Suite, F. L. Wright, Early 20th Century
Larkin Building, Frank Lloyd Wright, Buffalo, 1904
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Larkin Building, Buffalo, 1904
Details, Larkin Building, Frank Lloyd Wright,
Buffalo, 1904
Central Atrium, Larkin Building
Executive Offices & Office Furniture, Larkin Building
Cafeteria, Larkin Building, FLW
Typists Desk and Chair, Larkin Building
Cafeteria Chair and Office Chair, Larkin Building, F.L.W.
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Side chair, ca. 1904�Made by Frank Lloyd Wright (American, 1867–1959)�Oak; 40 1/8 x 15 x 18 7/8 in. (101.9 x 38.1 x 47.9 cm)�Gift of William and Mary Drummond, 1981 (1981.437)�Frank Lloyd Wright designed this side chair as part of a large set for the employees restaurant in the Larkin Building, Buffalo, New York, which was demolished in 1950. Like the office furniture (1979.130), the dining chairs are spare in decoration and linear in form. In his 1943 autobiography, Wright described the Larkin project as "the first emphatic outstanding protest against the tide of meaningless elaboration sweeping the United States." Unlike the steel and magnesite office furniture, the oak dining chairs reveal the distinctive influence of De Stijl designers, especially Gerrit Rietveld. The donor, William Drummond, was a protégé of Wright and used this chair in his home after the Larkin factory was demolished. Few others from the restaurant are extant.
Another Version of the Office Chair for the Larkin
Building, FLW
Robie House, Frank Lloyd Wright, Oakpark, Il. 1910
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Robie House, F. L. Wright, 1910, Oakpark, Il.
Plan, Robie House
Robie House, Frank Lloyd Wright, Oakpark, Il. 1910
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Robie House, F. L. Wright, 1910, Oakpark, Il.
Architectural Details, Robie House
Living Room, Robie House
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Living Room, Robie House, F. L. Wright, 1910, Oakpark, Il.
Dining Room, Robie House
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Robie House, diningroom
Hollyhock House (Barnsdall Art Park), F.L. Wright, 1917, Los Angeles
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Hollyhock House (Barnsdall Art Park), F.L. Wright, 1917, Los Angeles
Plan, Hollyhock House
Abstracted Hollyhock Details in Cast Concrete
and Art Glass
Interior Hallway, Hollyhock House
Interior, Hollyhock House with Game Table and Built-in Storage
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Interior, Hollyhock House, F.L. Wright, L. A.
Living Room, Hollyhock House
Ennis-Brown, Textile-Block-House, Frank Lloyd Wright, 1923
Ennis-Brown Textile-Block-House, Cast Concrete Blocks, ‘Threaded’ on to Rebar Wires
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Ennis-Brown Textile-Block-House 1923 Frank Lloyd Wright